On Sept. 2, the Witte Museum opens a 50-year retrospective exhibition featuring the photography of San Antonian Al Rendón.
Several of Rendón’s subjects have been lost to the cultures that adored them, most prominently Selena Quintanilla.
Rendón’s pluck earned him the shot, having climbed atop a trash bin strapped to a light pole to position himself above the throng of spectators crowding the plaza. But his inexperience caused problems, the chief issue being a spotlight blasting right at his camera from behind McGovern. Darkroom techniques called dodging and burning — controlling how much light and shadow appear in the final image as it develops — rescued the only viable image on the roll of film.
Without an expensive motor drive gizmo that allowed many images to be taken within seconds, Rendón patiently waited for the right moment to click the shutter when hair, stage lighting, illuminated guitar neck, hair and the look of total concentration on Nugent’s face converged.
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